
Absolute Beginner's Guide to Winning Presentations
by Weissman, Jerry-
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Summary
Author Biography
Table of Contents
Introduction | p. 1 |
Your Point Is More Important Than PowerPoint | p. 7 |
Why Present? | p. 9 |
Presenting Is Storytelling | p. 10 |
A New Approach to Presentations | p. 10 |
The Psychological Sell | p. 13 |
So What Is the Point? | p. 17 |
The Problem with Presentations | p. 17 |
The Power Presentation | p. 19 |
Persuasion: Getting from Point A to Point B | p. 20 |
Starting with the Objective in Sight | p. 21 |
Audience Advocacy | p. 22 |
Shift the Focus from Features to Benefits | p. 23 |
Understand the Needs of Your Audience | p. 23 |
Getting Aha!s | p. 25 |
You and Your Audience | p. 27 |
What's in It for You? | p. 27 |
WIIFY Triggers | p. 28 |
The Danger of the Wrong "You" | p. 31 |
Creating Your Story | p. 35 |
Finding Your Story: Creative Brainstorming | p. 37 |
The Data Dump | p. 38 |
Left Brain Versus Right Brain | p. 39 |
The Speaker Is Out of His Right Mind | p. 40 |
Leaving the Left Brain Behind | p. 41 |
Managing the Brainstorm: the Framework Form | p. 43 |
Point B | p. 43 |
Audience | p. 43 |
Setting | p. 45 |
A Form for the Framework | p. 46 |
Managing the Brainstorm: During the Session | p. 47 |
The Spirit of the Brainstorm | p. 49 |
Roman Columns: The Technique of Clustering | p. 50 |
Some Clustering Happened While Walking Around the Forum | p. 51 |
Constructing Your Own Columns | p. 51 |
Splat and Polish | p. 52 |
Focus Before Flow | p. 54 |
Plotting Your Story: Flow Structures | p. 55 |
Mapping Your Idea Forest | p. 56 |
The Sixteen Flow Structures | p. 57 |
Modular | p. 58 |
Chronological | p. 59 |
Physical | p. 59 |
Spatial | p. 60 |
Problem/Solution | p. 62 |
Issues/Actions | p. 63 |
Opportunity/Leverage | p. 64 |
Form/Function | p. 65 |
Features/Benefits | p. 66 |
Case Study | p. 67 |
Argument/Fallacy | p. 68 |
Compare/Contrast | p. 68 |
Matrix | p. 69 |
Parallel Tracks | p. 69 |
Rhetorical Questions | p. 70 |
Numerical | p. 71 |
Selecting the Right Flow Structure | p. 72 |
Guidelines for Selecting a Flow Structure | p. 74 |
The Presenter's Individual Style | p. 74 |
The Audience's Primary Interest | p. 75 |
Innate Story Factors | p. 75 |
The Established Agenda | p. 75 |
Esthetic Sense | p. 75 |
The Four Critical Questions | p. 77 |
Starting Your Story: Capturing Your Audience Immediately | p. 79 |
Why Are We Here Again? | p. 80 |
Seven Classic Opening Gambits | p. 80 |
The Question | p. 80 |
The Factoid | p. 82 |
The Retrospective/Prospective View | p. 82 |
The Anecdote | p. 83 |
The Quotation | p. 87 |
The Aphorism | p. 87 |
The Analogy | p. 88 |
Compound Opening Gambits | p. 90 |
Linking to Point B | p. 90 |
USP | p. 90 |
Proof of Concept | p. 91 |
Set 'Em Up, and Knock 'Em Down | p. 91 |
Tell Them What You're Going to Tell Them | p. 93 |
Link Forward from Point B | p. 94 |
Forecast the Time | p. 94 |
90 Seconds to Launch | p. 97 |
Showing Your Story | p. 99 |
Communicating Visually | p. 101 |
Visually, It's a Dump | p. 102 |
The Proper Role of Graphics | p. 102 |
Presenter Focus | p. 104 |
Less Is More | p. 106 |
Perception Psychology | p. 106 |
Graphic Design Elements | p. 110 |
Making the Text Talk | p. 113 |
Bullets Versus Sentences | p. 114 |
Wordwrap | p. 115 |
Crafting the Effective Bullet Slide | p. 116 |
Minimize Eye Sweeps with Parallelism | p. 118 |
Using the Build | p. 119 |
Bullet Levels | p. 120 |
Verbal Style | p. 122 |
Use Possessives/Plurals Correctly and Sparingly, If at All | p. 122 |
Keep Your Font Choices Simple | p. 123 |
Proportional Spacing | p. 124 |
Visual Style | p. 125 |
Text Guidelines | p. 128 |
Making the Numbers Sing | p. 131 |
The Power of Numeric Graphics | p. 132 |
Bar Charts | p. 132 |
Pie Charts | p. 135 |
Typography in Numeric Graphics | p. 137 |
The Hockey Stick | p. 138 |
Subtle? Yes, But... | p. 140 |
Using Graphics to Help Your Story Flow | p. 141 |
The 35,000-Foot Overview | p. 142 |
Graphic Continuity Techniques | p. 144 |
Bumper Slides | p. 145 |
Indexing/Color Coding | p. 149 |
Icons | p. 151 |
Anchor Objects | p. 155 |
Anticipation Space | p. 158 |
Presenter Focus Revisited | p. 162 |
Graphics and the 35,000-Foot View | p. 163 |
Telling Your Story | p. 165 |
In Front of the Room: Bringing Your Story to Life | p. 167 |
Verbalization: Shout It Out! | p. 168 |
Spaced Learning | p. 170 |
Internal Linkages | p. 173 |
Twelve Internal Linkages | p. 173 |
Reference the Flow Structure | p. 174 |
Logical Transition | p. 175 |
Cross-Reference | p. 176 |
Rhetorical Question | p. 176 |
Recurring Theme | p. 177 |
Symmetry | p. 177 |
Mantra | p. 177 |
Internal Summary | p. 178 |
Enumeration | p. 179 |
Do the Math | p. 179 |
Point B Reinforcement | p. 180 |
Say Your Company Name | p. 180 |
Internal Linkages in Action | p. 180 |
Phraseology | p. 181 |
Practice Really Does Make Perfect (or At Least Gets You a Whole Lot Closer) | p. 185 |
Customizing Your Presentation | p. 187 |
A Face in the Crowd | p. 187 |
The Illusion of the First Time | p. 189 |
External Linkages | p. 190 |
Direct Reference | p. 191 |
Mutual Reference | p. 191 |
Ask Questions | p. 192 |
Contemporize | p. 193 |
Localize | p. 193 |
Data | p. 194 |
Customized Opening Graphic | p. 194 |
Gathering Material for Customization | p. 195 |
Prior to Presentation Day | p. 196 |
On the Day of the Presentation | p. 196 |
External Linkages in Action | p. 198 |
The Big Time: Putting It All Together | p. 201 |
It All Starts with Your Story | p. 202 |
Practice, Practice, Practice | p. 203 |
Every Audience, Every Time | p. 204 |
Appendix | p. 207 |
Tools of the Trade | p. 209 |
Using the Storyboard Flow Form | p. 209 |
The Presentation Environment | p. 211 |
Presentation Checklists | p. 213 |
The Four Critical Questions | p. 213 |
WIIFY Triggers | p. 214 |
Seven Classic Opening Gambits | p. 215 |
Sixteen Flow Structures | p. 216 |
Twelve Internal Linkages | p. 217 |
Seven External Linkages | p. 218 |
Five Graphic Continuity Techniques | p. 219 |
Index | p. 221 |
Table of Contents provided by Ingram. All Rights Reserved. |
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